https://cchu9080.lib.hku.hk/items/browse?advanced%5B0%5D%5Belement_id%5D=68&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Korea&sort_field=Dublin+Core%2CCreator&sort_dir=d&output=atom<![CDATA[3D Objects at UMAG]]>2026-10-15T13:03:12+08:00Omekahttps://cchu9080.lib.hku.hk/items/show/110<![CDATA[Wine Jar]]>2021-05-02T12:15:09+08:00
The grey colored wine jar is glazed and slightly decorated with black wavy lines drawn by a brush, and overall speaking is very simple. There are protruding rings around the jar, making the jar more decorative. The jar is protected rather well, though there are a few visible cracks on it, which could be made during the firing process. The bottom and the rim of it was repaired. The jar could be crafted from clay with a high iron composition, as from the chipped parts of the object one could see that the unpainted parts are of a reddish color. Judging the pottery’s greenish grey body and the black slip, the jar should be of the Punch’ông style, which usually comes out of a similar color, although the slips are white in color. As the Punch’ông pottery are usually from the 15 and 16 century, one could assume that the wine jar was made in the 15 or 16 century.
The pottery is used as a wine jar, and, by judging its simple decoration, it could be used at a restaurant or a wine tavern. Also, as it does not have any handles on it, it is assumed that the container is placed on a table rather than hung onto walls or being carried by waiters. Also, as the wine jar is large in volume, which normal domestic families would not be able to use, one could suggest that the jar was used commercially.
Source: Hammer, E., & Smith, J. E. (2002). The Arts of Korea: A Resource for Educators (Pck ed.) [E-book]. Metropolitan Museum of Art. https://hkuhk-my.sharepoint.com/personal/pcobb_hku_hk/_layouts/15/onedrive.aspx?originalPath=aHR0cHM6Ly9oa3Voay1teS5zaGFyZXBvaW50LmNvbS86ZjovZy9wZXJzb25hbC9wY29iYl9oa3VfaGsvRXZldlNCTG5qeHBIdkoybnQxM3p3c1FCSlVjZkdlOFNicmxraFMwcEI5c2s0UT9ydGltZT1vVXNldl9fNjJFZw&id=%2Fpersonal%2Fpcobb%5Fhku%5Fhk%2FDocuments%2Fcoursework%2F2021ASpring%2DCommonCore%2Fresources%2FCeramics%2FThe%20Arts%20of%20Korea%2Epdf&parent=%2Fpersonal%2Fpcobb%5Fhku%5Fhk%2FDocuments%2Fcoursework%2F2021ASpring%2DCommonCore%2Fresources%2FCeramics
This ewer has a shape and function similar to a modern teapot; to carry and pour water. It is incised with flowers, lotus leaves and bushes, and together with its overall dark green glaze, this ewer is a notable variation of Goryeo celadon wares (sanggam cheongja), an inlaying technique developed and widely used during the Goryeo dynasty. The production method of celadon itself was introduced by China in the 10th century, so celadon wares like this embody past cultural and technological exchange between China and Korea. Towards the end of the Goryeo dynasty, frequent invasions by Mongolians deteriorated the maintenance of techniques to make celadon wares like this, so their styles became more simplified over time.
The incision of flowers and bushes is not specific to a particular religion, though lotus leaves may be pointing to the prevalence of Confucianism and Buddhism during the Goryeo dynasty. Other Goryeo celadon wares are incised with legendary creatures like dragons and haetae (lion with a horn), and celadons with such patterns were also observable in China. For example, a funerary jar (HKU.C.1996.1076) produced in China during the Southern song dynasty (1127-1279) is also a celadon ware with green glaze, and is incised with a dragon. The use of incised celadon wares instead of ordinary ceramics to make ewers like this suggests that teatime was an important cultural aspect of people’s daily life during the Goryeo dynasty.